The Prodigy’s Keith Flint was the face of rave for a generation | In Shell Case Musical Movement

Ma isn’t hiding anything resembling Norman Bates’s mother up there. That plot point is basically a red herring, but Ma’s motives are ulterior, as she grew up in this town, with these kids’ parents, who humiliated her in the ‘80s with a prank, in front of almost the entire school, that crossed the line into assault. She’s a bottled-up Carrie-type who’s been waiting 30 years to explode. When she recognizes one of Maggie’s new friends as the son of her chief bully, Ben (Luke Evans), she begins plotting a baroque revenge against her peers and their progeny. The film unfolds slowly, though, as a simmering character piece about the secrets of small towns.

Started in the wake of MacCaig’s death in 2008, The Image You Missed is composed of archival footage shot by MacCaig and finds Foreman exploring a variety of connections in their relationship—or, rather, the lack of one. Foreman traces a portrait of his father, who never seemed to have the time to make it from Paris to Dublin to visit him, from all this footage: a train bridge MacCaig once rode over, a character named Dónal from one of his unproduced screenplays, similarities between Foreman’s childhood movies and MacCaig’s own, a relative’s footage of Northern Irish cities taken at the same time MacCaig was on the ground filming.

Cast: John Lithgow, Blythe Danner, Derek Cecil, Katie Aselton, Sophie Thatcher, Eve Harlow, Wendy Makkena Director: Noble Jones Screenwriter: Noble Jones Distributor: Bleecker Street Running Time: 94 min Rating: PG-13 Year: 2019

And when the afternoon buskers are done, there will still be plenty of live music at assorted Naples venues, including Naples Hotel, Brew & Brats at Arbor Hill, Hazlitt Red Cat Cellars and Roots Cafe. 

Throughout Leaving Home, Coming Home, director Gerald Fox emulates, to a degree, the raw, volcanic poetry of Frank’s own films, fashioning a loose and rough-and-tumble document of a gifted man who’s aged into a gruff curmudgeon who’s more sentimental than he appears to be. Frank’s voice is a thing of beauty, still inflected with his Swiss origins while colored with the experience and weariness of, at the time, nearly 80 years of life. From a glance, Frank resembles the sort of grizzled coot you might see at a diner talking about the “good ‘ol days” before work, until that voice begins to describe the shifting phases of America as Frank perceives them. At that point, the man reveals himself to be an artist.

Derek Jarman’s The Garden is an elemental film. Throughout, the director returns to images of the four classical elements—fire, water, earth, and air—as if the film were trying to give birth to a new world, as if it were a world itself. And, beyond the biblical allusion, perhaps that’s what the title of his hallucinatory film refers to. Gardens are microcosms, life-giving gatherings of water, earth, and air—and fire as well, if you so happen, like many of the film’s characters, to be holding a signal flare while standing in your garden.

In connection with the Annual Report of Telefônica Brasil S.A. (the “Company”) on Form 20-F for the fiscal year ended December 31, 2018, as filed with the U.S. Securities and Exchange Commission on the date hereof (the “Report”), I, Christian Mauad Gebara, Chief Executive Officer, certify, pursuant to 18 U.S.C. Section 1350, as adopted pursuant to section 906 of the U.S. Sarbanes-Oxley Act of 2002, that to the best of my knowledge:

Rocketman makes clear that Reggie’s adoption of a stage name is more than just marketing, as he’ll insist, later in the film, that his family also call him Elton. The invention of a new persona allows him to escape his humble origins and demeanor. As one of the Motown performers advises him in one of those programmatic lines that these sorts of films specialize in, “Kill the person you are in order to become the person you want to be.” The irony of John’s public image—the mild manner and small stature offset by flamboyant, glittering stage performances—is expanded into a Reggie/Elton dialectic in Rocketman, in which the adult Elton must eventually learn to reconcile himself with his inner child. It’s a reconciliation that will be presented in the most literal of images toward the end of the film.

Director: Barak Goodman, Jamila Ephron Distributor: PBS Distribution Running Time: 90 min Rating: NR Year: 2019

As the play explores the New York City’s public and private indifference to the burgeoning AIDS epidemic in the early 1980s, LTM will partner with AIDS Connecticut to deliver this landmark drama. A portion of ticket sales will be donated to AIDS Connecticut to support the goal of eliminating health disparities for people impacted by HIV/AIDS.

Payment thereof will be made up to the end of fiscal year 2020, on a date to be set by the Board of Directors and timely communicated to the market, being paid individually to shareholders, according to the ownership structure contained in the Company’s records, through the end of day February 28, 2019. The Company clarifies that the effective payment of these proceeds is limited to the effective result to be verified in its financial statements, under the terms of the law.

The amounts available for distribution are determined on the basis of financial statements prepared in accordance with the accounting practices adopted in Brazil.